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How to cheat in Adobe Animate CC : the art of design and animation - Adobe animate cc guide pdf free
Move the playhead to frame 1 of the timeline, select the photo1. A very narrow blue outline indicates that the object is selected.
In the Properties panel, type 50 for the X value and 50 for the Y value. You can also drag over the X and Y values to change their values.
The photo moves to the left side of the Stage. The X and Y values are measured on the Stage from the upper-left corner. X begins at 0 and increases to the right, and Y begins at 0 and increases downward. The registration point the point from which Animate makes measurements for imported photos is at the upper-left corner.
In the Transform panel, select Rotate and type —12 in the Rotate box, or drag over the value to change the rotation. The selected photo on the Stage rotates 12 degrees counterclockwise. Select frame 12 of the photo2 layer. Now click photo2. Use the Properties panel and Transform panel to position and rotate the second photo in an interesting way.
Select frame 24 in the photo3 layer. Now click photo3. Use the Properties panel and Transform panel to position and rotate the third photo in an interesting way.
Note When images are scaled or rotated in Animate, they may appear jagged. You can use the Bitmap Properties dialog box to smooth each image. Double-click the bitmap icon or the image thumbnail in the Library panel to open the dialog box and select the Allow Smoothing option.
Working with panels Just about everything you do in Animate involves a panel. In this lesson, you use the Library panel, Tools panel, Properties panel, Transform panel, History panel, and Timeline panel. Because panels are such an integral part of the Animate workspace, it pays to know how to manage them. To open any panel in Animate, choose its name from the Window menu. Individual panels float freely, and they can be combined in docks, groups, or stacks.
A dock is a collection of panels or panel groups in a vertical column. Docks stick to the left or right edges of the user interface. A group is a collection of panels that can be placed within a dock or that can float freely. A stack is similar to a dock but can be placed anywhere in the interface. In the default Essentials workspace, most of the panels are organized in three docks on the right side of the screen.
The Timeline and Output panels are grouped at the bottom, and the Stage is on the top. However, you can move a panel to any position that is convenient for you. To move a panel, drag it by its tab to a new location. To move a panel group or stack, drag it by the area next to the tabs. As the panel, group, or stack passes over other panels, groups, docks, or stacks, a blue highlighted drop zone will appear.
If you release the mouse button while a drop zone is visible, the panel will be added to the group, dock, or stack. To dock a panel, drag it by its tab into a new position at the left or right edge of the screen. If a vertical drop zone appears, dropping the panel will create a new dock.
To group a panel, drag its tab onto the tab of another panel or the drop zone at the top of an existing group. To create a stack, drag a group out of a dock or an existing stack so it floats freely. Alternatively, drag one free-floating panel onto the tab of another floating panel. You also have the option of displaying most of the panels as icons to save space but still maintain quick access.
Click the double arrowheads in the upper-right corner of a dock or stack to collapse the panels to icons. Click the double arrowheads again to expand the icons into panels. Using the Tools panel The Tools panel—the long, narrow panel on the far right side of the work area—contains selection tools, drawing and type tools, painting and editing tools, navigation tools, and tool options.
When you select a tool, check the options area at the bottom of the panel for more options and other settings appropriate for your task. Selecting and using a tool When you select a tool, the options available at the bottom of the Tools panel and the Properties panel change. When you select the Zoom tool, the Enlarge and Reduce options appear. The Tools panel contains too many tools to display all at once.
Some tools are arranged in hidden groups in the Tools panel; only the tool you last selected from a group is displayed. Press and hold the icon for the visible tool to see the other tools available, and then select one from the menu.
Select the folder in the timeline, and then click the New Layer button. Name the new layer stars. That makes some of the tools and buttons invisible. In the timeline, move the playhead to frame 36 and select frame 36 in the stars layer. You will create star shapes to appear at frame 36 in this layer. In the Tools panel, select the PolyStar tool, which is indicated by the hexagon shape. In the Properties panel, click the colored square next to the pencil icon, which indicates the color of the outline, or stroke, and select the red diagonal line.
The red diagonal line represents a color of None for the stroke. Click the colored square next to the paint bucket icon, which indicates the color of the fill, and select a bright, cheery color such as yellow. You can click the color wheel at the upper right to access the Adobe Color Picker, or you can change the Alpha percentage, which determines the level of opacity, also at the upper right. Choose Star from the Style menu.
These options define the shape of your star. Make sure the empty keyframe in frame 36 of the stars layer is selected. Start dragging on the Stage where you want to add a star, and continue dragging to change the width of your star. Without releasing the drag, move your cursor around the center of the star to rotate it. Make multiple stars of different sizes and with different angles of rotation. Exit the PolyStar tool by selecting the Selection tool. Use the Properties panel or the Transform panel to reposition or rotate selected stars on the Stage, if desired.
Or select the Selection tool and simply click to select a star and drag it to a new position on the Stage. The X and Y values in the Properties panel update as you drag the star around the Stage. Adding layer effects You can add interesting visual effects that change the appearance of objects in a particular layer. These layer effects include color effects and filters, both available in the Properties panel when a keyframe is selected.
Brightness controls the relative darkness or lightness of the layer. Tint controls how much color is added to the layer. Alpha controls the transparency of the layer.
A fourth option, Advanced, allows you to vary brightness, tint, and alpha together all at once. Filters are special effects that change or distort the appearance in more dramatic ways, such as adding a drop shadow or adding a blur. Adding layer effects to a keyframe Layer effects are keyframe based. That is, a single layer can have different layer effects in different keyframes.
Move the playhead to frame 12 on the timeline and select frames 12 in both the photo1 layer and the background layer by pressing Shift as you click each frame. Frame 12 is the point at which photo2 appears in the slideshow. A keyframe appears in frame 12 in both layers. While the two keyframes are still selected, click the Add Filter button in the Properties panel and choose Blur to add a blur filter to the two selected keyframes. Increase the BlurX and BlurY values to 8 px.
The background photo and the first photo become blurry, which accentuates the new photo that appears in the photo2 layer. Select frame 24 in the photo2 layer; this is the moment when photo3 appears.
This keyframe allows you to add a filter to the layer to change its appearance at that point in time. Click Add Filter in the Properties panel and choose Blur. Increase the Blur X and Blur Y to 8 px. The photo in the photo2 layer becomes blurry, helping your audience focus on the new photo that appears in the photo3 layer.
Select frame 36 in the photo1, photo2, photo3, and background layers and insert a keyframe F6. The selected layers become slightly darker, which adds drama to the bright yellow stars that appear at that moment in the stars layer.
Undoing steps in Animate In a perfect world, everything would go according to plan. But sometimes you need to move back a step or two and start over. You can undo steps in Animate using the Undo command or the History panel. Closing a document clears its history. Note If you remove steps from the History panel and then perform additional steps, the removed steps will no longer be available.
You can choose the Undo command multiple times to move backward as many steps as are listed in the History panel. Drag the History panel slider up to the step just before your mistake.
Steps below that point are dimmed in the History panel and are removed from the project. To add a step back, move the slider back down. Finish by returning the History panel slider to its original position next to the bottom step in the panel. Animate creates the required published files in the same location as your FLA file and opens and plays the animation in your default browser. Animate automatically loops your movie in this preview mode.
Close the browser window and return to Animate. Modifying the content and Stage When you first started this lesson, you created a new file with the Stage set at pixels by pixels. However, your client may later tell you that they want the animation in several different sizes to accommodate different layouts. Or they may want to create a version that will run on AIR for Android devices, which require specific dimensions.
Fortunately, you can modify the Stage even after all your content is put in place. When you change the Stage dimensions, Animate provides the option of scaling the content with the Stage, automatically shrinking or enlarging all your content proportionally. In the Properties section of the Properties panel, note that the dimensions of the current Stage are set at x pixels. Click the Advanced Settings button to open the Document Settings dialog box. In the Width and Height boxes, enter new pixel dimensions.
You can click the link icon between the Width and Height fields to constrain the proportions of the Stage. With the link icon selected, changing one dimension will automatically change the other proportionately. Select the Scale Content option. Leave the Anchor option as is. The Anchor option lets you choose the origin from which your content is resized, if the proportions of the new Stage are different.
Animate modifies the dimensions of the Stage and automatically resizes all the content. If your new dimensions are not proportional to the original size, Animate will resize everything to maximize the content to fit. Save the file. You now have two Animate files, identical in content but with different Stage dimensions. Animate can help alleviate much of the worry over lost work. The Auto-Recovery feature creates a backup file in case of a crash. Note If you have unsaved changes in your open document, Animate adds an asterisk to the end of its filename at the top of the document window as a friendly reminder.
Using Auto-Recovery to create a backup The Auto-Recovery feature is a preference setting that applies to all Animate documents. It saves a backup file, so in case of a crash, you have an alternate file to return to. The Preferences dialog box appears. Select the General category from the left column. The file remains as long as the document is open.
When you close the document or when you quit Animate safely, the file is deleted. Review questions 1 What is the Stage? Review answers 1 The Stage is the rectangular area viewers see when a movie is playing.
Objects that you store on the pasteboard outside of the Stage do not appear in the movie. A keyframe is represented on the timeline with a circle and indicates a change in content on the Stage.
The tool you most recently used is the one shown. Small triangles appear on tool icons to indicate that hidden tools are available. To select a hidden tool, press and hold the tool icon for the tool that is shown, and then select the hidden tool from the menu. To undo multiple steps at once, drag the slider up in the History panel. Layer effects are added by selecting a keyframe and choosing a style or a filter from the Color Effect or Filter section of the Properties panel.
Modify the shape, color, and size of drawn objects. Understand fill and stroke settings. Create and edit curves and variable-width strokes. Apply gradients and transparencies. Use Art and Pattern brushes for expressive drawing. Create, edit text, and use web fonts. Distribute objects on the Stage. Create and edit symbols.
Understand symbols and instances. Apply filters to symbol instances. This lesson will take about 3 hours to complete. You can use rectangles, ovals, lines, and custom art or pattern brushes to create interesting, complex graphics and save them as symbols, which will be displayed in your Library panel.
Combine gradients, transparencies, text, and filters for even greater expressive possibilities. Getting started Note If you have not already downloaded the project files for this lesson to your computer from your Account page, make sure to do so now.
Double-click the 02End. The project is a simple static illustration for a banner ad. After all, you must learn to walk before you can run! And learning to create and modify graphics is an important step before doing any animation with Adobe Animate CC. In the Animate Start screen, select Web as the intended document presets category. Make the Stage size pixels by pixels, and click Create. Understanding strokes and fills Every graphic created within Animate starts with a shape. A shape consists of two components: the fill, or the insides of the shape, and the stroke, or the outlines of the shape.
The fill and the stroke function independently of each other, so you can modify or delete either without affecting the other. For example, you can create a rectangle with a blue fill and a red stroke, and then later change the fill to purple and delete the red stroke entirely.
You can also move the fill or stroke independently, so if you want to move the entire shape, make sure that you select both its fill and its stroke. Creating shapes Animate includes several drawing tools, which work in different drawing modes. The six digits after the sign represent the red, green, and blue contributions to the color.
Using the Rectangle tool The coffee cup is essentially a cylinder, which is a rectangle with an oval at the top and an oval at the bottom. In the Tools panel, select the Rectangle tool. Make sure the Object Drawing mode button at the bottom of the Tools panel is not selected.
Choose a stroke color and a fill color from the bottom of the Tools panel. Choose dark brown for the stroke and CC light brown for the fill. On the Stage, draw a rectangle that is a little taller than it is wide. Select the Selection tool. Drag the Selection tool around the entire rectangle to select its stroke and its fill.
When a shape is selected, Animate displays it with white dots. You can also double-click a shape, and Animate will select both the stroke and fill of the shape. In the Properties panel, Position And Size section, enter for the width and for the height.
In the Tools panel, select the Oval tool. Make sure the Snap To Objects button is selected. This option forces shapes that you draw on the Stage to snap to each other to ensure that lines and corners connect to one another. Drag from one side of the rectangle to the other to make an oval that touches both sides. Snap To Objects makes the sides of the oval connect to the sides of the rectangle. Note The last fill and stroke you used are applied to the next objects you create, unless you change the settings before you draw.
Draw another oval near the bottom of the rectangle. Animate drawing modes Animate provides three drawing modes that determine how objects interact with one another on the Stage and how you can edit them. Merge Drawing mode In this mode, Animate merges drawn shapes, such as rectangles and ovals, where they overlap, so that multiple shapes appear to be a single shape. If you move or delete a shape that has been merged with another, the overlapping portion is permanently removed.
Object Drawing mode In this mode, Animate does not merge drawn objects; they remain distinct and separate, even when they overlap. To enable Object Drawing mode, select the drawing tool you want to use, and then click the Object Drawing button at the bottom of the Tools panel.
Primitive Drawing mode When you use the Rectangle Primitive tool or the Oval Primitive tool, Animate draws your rectangles or ovals as independent objects that maintain some editable features. Unlike with regular objects, you can modify the corner radius and start and end angle of rectangle primitives, and adjust the inner radius of oval primitives using the Properties panel.
Making selections To modify an object, you must first be able to select different parts of it. In Animate, you can make selections using the Selection, Subselection, or Lasso tool.
Typically, you use the Selection tool to select an entire object or a section of an object. The Subselection tool lets you select a specific point or line in an object. With the Lasso tool, you can make a free-form selection. In the Tools panel, select the Selection tool. Click the fill above the top oval to select it. The shape above the top oval is highlighted. Adobe Illustrator CC. Adobe Captivate 9 - Quizzes. Adobe Dreamweaver CS5. Adobe Captivate 9 - NeoSpeech.
Adobe Photoshop CC Adobe Photoshop CS6 Tutorial. The current layer becomes a tween layer. A new keyframe is automatically inserted at frame to indicate the change in transparency. You have used Animate to tween the change in position and the change in scale as well as the change in transparency from frame 75 to frame Motion presets If your project involves creating identical motion tweens repeatedly, Animate allows you to save and reuse motion tweens as presets.
For example, if you want to build a slideshow where each image fades out in the same manner, you can save that transition as a motion preset. Alternatively, right-click the motion tween and choose Save As Motion Preset. Animate provides a number of motion presets that you can use to quickly build sophisticated animations without much effort.
Changing the Path of the Motion The motion tween of the left car that you just animated shows a colored line with dots indicating the path of the motion. You can edit the path of the motion easily to make the car travel in a curve, or you can move, scale, or rotate the path just like any other object on the Stage.
To better demonstrate how you can edit the path of the motion, open the sample file 04MotionPath. Moving the path of the motion You will move the path of the motion so the relative movement of the rocket ship remains the same but its starting and ending positions change.
The path of the motion becomes highlighted. The relative motion and timing of the animation remain the same, but the starting and ending positions are relocated. Transformation handles appear around the path of the motion.
You can make the path smaller or larger, or rotate the path so the rocket ship starts from the bottom left of the Stage and ends at the top right. Editing the path of the motion Making your objects travel on a curved path is a simple matter. You can either edit the path with Bezier precision using anchor point handles, or you can edit the path in a more intuitive manner with the Selection tool. The handle on the anchor point controls the curvature of the path. Make the rocket ship travel in a wide curve.
Select the Selection tool and make sure the path is deselected. Move your pointer close to the path of the motion. A curved icon appears next to your pointer, indicating that you can edit the path. Drag the path of the motion to change its curvature. Choose the spots where you drag carefully! Each drag breaks the path into smaller segments, making it harder to achieve a smooth curve. Mastery will come with practice. In the motion picture splash page project, the orientation of the car is constant as it moves forward.
However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading. Orient To Path in the Properties panel gives you this option. Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion.
Use the Free Transform tool to rotate its initial position so that it is oriented correctly. This means that an object and its motion are independent of each other, and you can easily swap out the target of a motion tween. Select the object that you want to swap on the Stage. In the Properties panel, click the Swap button. In the dialog box that appears, choose a new symbol 2 Click OK.
Animate will swap the target of Animate replaces the rocket ship with the alien. The motion remains the same, the motion tween. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation. For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms. These kinds of animations are called nested animations, because they are contained inside the movie clip symbols.
Movie clip symbols have their own Timeline that is inde- pendent of the main Timeline. The alien appears in the middle of the Stage. In the Timeline, the parts of the alien are separated in layers. A keyframe is inserted at the end of the motion tween.
The left arm rotates smoothly from the resting position to the outstretched position. Right-click his right arm and choose Create Motion Tween.
Animate inserts a keyframe at the end of the motion tween. The arm rotates smoothly from the resting position to the outstretched position. To prevent the looping, 11 Click the Scene 1 button in the Edit bar at the top of the Stage to exit symbol- you need to add code to tell the movie clip editing mode. Timeline to stop on its Your animation of the alien raising his arms is complete.
Wherever you use the last frame. JavaScript in later lessons. But you can also have nested animations and graphics inside of graphic symbols, although they work a little differently. It will only play if there are sufficient frames on the main Timeline where the instance is placed. Because of the ease with which you can pick and choose what frame inside a graphic symbol shows, graphic symbols are ideal for lip syncing or other character variations.
Using the Frame Picker for phonemes If animated characters talk, their mouth will be synchronized with their words. Each sound, or phoneme, is produced by a different mouth shape. Animators draw a collection of these mouth positions to be used to synchronize to the soundtrack. You can store each mouth position as a keyframe in a graphic symbol.
The file contains your familiar alien character on the Stage. The alien is not animated on a path, but his head is a graphic symbol with multiple keyframes inside of its Timeline.
Notice that the Timeline contains five keyframes in the mouth layer. Each keyframe shows the mouth in a different position. Frame 1 has a small closed mouth, frame 2 a rounded mouth, frame 3 a wide open mouth, and so on. Animate creates a SWF to play the animation. Nothing happens because there is only a single frame on the main Timeline, and a graphic symbol needs frames on the main Timeline to play its own Timeline.
Frames are added to both layers up to frame Animate plays the animation. The graphic symbol plays all of its five keyframes repeatedly during the 45 frames of the main Timeline. PDF file. Size : 1. Adobe Illustrator CS5 Essentials. Adobe Captivate 8. Adobe Spark Getting Started. Adobe Dreamweaver Essentials. However, in the rocket ship example, the rocket ship should follow the path with its nose pointed in the direction in which it is heading.
Orient To Path in the Properties panel gives you this option. Animate inserts keyframes for rotation along the motion tween to orient the nose of the rocket ship to the path of the motion. Use the Free Transform tool to rotate its initial position so that it is oriented correctly. This means that an object and its motion are independent of each other, and you can easily swap out the target of a motion tween.
Select the object that you want to swap on the Stage. In the Properties panel, click the Swap button. In the dialog box that appears, choose a new symbol 2 Click OK. Animate will swap the target of Animate replaces the rocket ship with the alien.
The motion remains the same, the motion tween. Creating Nested Animations Often, an object that is animated on the Stage will have its own animation. For example, the wings of a butterfly moving across the Stage may flap as it moves. Or the alien that you swapped with the rocket ship could be waving his arms.
These kinds of animations are called nested animations, because they are contained inside the movie clip symbols. Movie clip symbols have their own Timeline that is inde- pendent of the main Timeline. The alien appears in the middle of the Stage. In the Timeline, the parts of the alien are separated in layers. A keyframe is inserted at the end of the motion tween.
The left arm rotates smoothly from the resting position to the outstretched position. Right-click his right arm and choose Create Motion Tween. Animate inserts a keyframe at the end of the motion tween. The arm rotates smoothly from the resting position to the outstretched position. To prevent the looping, 11 Click the Scene 1 button in the Edit bar at the top of the Stage to exit symbol- you need to add code to tell the movie clip editing mode.
Timeline to stop on its Your animation of the alien raising his arms is complete. Wherever you use the last frame. JavaScript in later lessons. But you can also have nested animations and graphics inside of graphic symbols, although they work a little differently. It will only play if there are sufficient frames on the main Timeline where the instance is placed. Because of the ease with which you can pick and choose what frame inside a graphic symbol shows, graphic symbols are ideal for lip syncing or other character variations.
Using the Frame Picker for phonemes If animated characters talk, their mouth will be synchronized with their words. Each sound, or phoneme, is produced by a different mouth shape.
Animators draw a collection of these mouth positions to be used to synchronize to the soundtrack. You can store each mouth position as a keyframe in a graphic symbol. The file contains your familiar alien character on the Stage. The alien is not animated on a path, but his head is a graphic symbol with multiple keyframes inside of its Timeline.
Notice that the Timeline contains five keyframes in the mouth layer. Each keyframe shows the mouth in a different position. Frame 1 has a small closed mouth, frame 2 a rounded mouth, frame 3 a wide open mouth, and so on. Animate creates a SWF to play the animation. Nothing happens because there is only a single frame on the main Timeline, and a graphic symbol needs frames on the main Timeline to play its own Timeline.
Frames are added to both layers up to frame Animate plays the animation. The graphic symbol plays all of its five keyframes repeatedly during the 45 frames of the main Timeline. Leave the value of the First field at 1. The Frame Picker panel opens. The Frame Picker shows thumbnail images of all the frames inside the graphic symbol. When the animation plays frame 12, the alien head graphic symbol will change to frame 4. When the animation reaches frame 14, the head symbol will switch to displaying frame 2.
Easing Easing refers to the way in which a motion tween proceeds. You can think of easing as acceleration or deceleration. An object that moves from one side of the Stage to the other side can start off slowly, then build up speed, and then stop suddenly.
Or, the object can start off quickly and then gradually slow to a halt. Your keyframes indicate the beginning and end points of the motion, but the easing determines how your object gets from one keyframe to the next. A simple way to apply easing to a motion tween is to use the Properties panel. A negative value creates a more gradual change from the starting position known as an ease-in. A positive value creates a gradual slowdown known as an ease-out.
Splitting a motion tween Easing affects the entire span of a motion tween. If you want the easing to affect only frames between keyframes of a longer motion tween, you should split the motion tween. However, the actual movement of the car starts at frame 75 and ends at frame The motion tween is cut into two separate tween spans. The end of the first tween is identical to the beginning of the second tween.
The motion tweens of all three cars have now been split. This applies an ease-out to the motion tween. Animate plays the Timeline in a loop between frames 60 and so you can examine the ease-out motion of the three cars. Frame-by-Frame Animation Frame-by-frame animation is a technique that creates the illusion of movement by making incremental changes between every keyframe.
Frame-by-frame animations increase your file size rapidly because Animate has to store the contents for each keyframe. Use frame-by-frame animation sparingly. When the movie clip loops, the car will rumble slightly to simulate the idle of the motor. Inserting a new keyframe The frame-by-frame animations inside the carMiddle and carRight movie clip sym- bols have already been done.
Inside the carRight movie clip, three keyframes establish three different positions for the car and its headlights.
The keyframes are spaced unevenly to provide the unpredictable up and down motion.
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